I think if the film started at the conceptual phase and we still didn't get information about the concept and all that, then it would be missing that aspect. But since the first non-concert scene is basically the dancers coming on set for the first time, and Beyoncé explaining / referencing all the workers involved, it's fine as it is. In some regards Beyoncé doesn't need to and shouldn't be giving out her creative process. As a creative myself, I like to keep my process personal, and I think if you have done a good job, your motives and inspirations will be clear, which I think has been accomplished. The notions of human vs. robot that are explicitly stated in the interludes also carry out in the visuals themselves, the choreography, the set pieces, etc.. Overall, I'd rather derive context from the work than being explained it after the fact.

 

And personally I appreciate that the documentary aspects are lightly personal (so the staging is still the main event) and help tell the story of what's happening on stage, not the "making of" necessarily but how they got there, emotionally.

 

 

 

Edited December 4, 20232 yr by swissman

7 minutes ago, Machete said:

My biggest complaint of the film was with the performance clips. I don't know how else to describe it but it felt like a MOVIE, if that makes sense. Like scenes from a movie about a popstar who is on tour, not an actual recording of a real tour. I think a large part of this was her mic feed was way too clear. If I weren't a fan I would've thought it was just the studio recording. It was a weird choice to mute the audience so much, a choice I don't recall her doing in HOMECOMING. Like in Drunk In Love when she went "y'all sing" and then you could barely even hear the audience singing back  No wonder she cut out Love On Top, that would not have worked at all without the audience's full volume/

i noticed that too but it’s clear that was done to have very clear vocals and productional elements for the live album 

 

they also cut out some audience interaction (some sing it challs) and mixed the arrangements differently 

 

it works a little less for a concert movie but it’ll work amazingly in the context of the live album, that audio will be CRISP, something Homecoming was not (always hated how she didn’t pick the full version of the Sorry/Me Myself and I  mashup but used the one where she talks during all of the MM&I chorus )

10 minutes ago, Machete said:

My biggest complaint of the film was with the performance clips. I don't know how else to describe it but it felt like a MOVIE, if that makes sense. Like scenes from a movie about a popstar who is on tour, not an actual recording of a real tour. I think a large part of this was her mic feed was way too clear. If I weren't a fan I would've thought it was just the studio recording. It was a weird choice to mute the audience so much, a choice I don't recall her doing in HOMECOMING. Like in Drunk In Love when she went "y'all sing" and then you could barely even hear the audience singing back  No wonder she cut out Love On Top, that would not have worked at all without the audience's full volume/

But that was an artistic choice so that one feels inclined to do that while watching the movie in the cinema. I feel like it felt like reliving the concert which ive never had with any concert Film before

It's the being cursed and shunned for wanting what actually exist and has been prepped for release without a trace since the tour has concluded but being optimistic about a live album without any confirmation besides a personal desire- for me. Because what the actual F@(%? 🤣🤣🤣

12 minutes ago, Machete said:

My biggest complaint of the film was with the performance clips. I don't know how else to describe it but it felt like a MOVIE, if that makes sense. Like scenes from a movie about a popstar who is on tour, not an actual recording of a real tour. I think a large part of this was her mic feed was way too clear. If I weren't a fan I would've thought it was just the studio recording. It was a weird choice to mute the audience so much, a choice I don't recall her doing in HOMECOMING. Like in Drunk In Love when she went "y'all sing" and then you could barely even hear the audience singing back  No wonder she cut out Love On Top, that would not have worked at all without the audience's full volume/

I actually liked she cut so much from the audience and the mic is clear. 

1 minute ago, Kristie Kuwa said:

But that was an artistic choice so that one feels inclined to do that while watching the movie in the cinema. I feel like it felt like reliving the concert which ive never had with any concert Film before

Yes, I would agree with this! It did feel like being at the concert again which left me wanting more performances! 

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness.

 

Angelica Jade Bastién
New York Magazine/Vulture

 

https://www.rottentomatoes.com/m/renaissance_a_film_by_beyonce/reviews?intcmp=rt-scorecard_tomatometer-reviews

 

GIRL

WHAT 

 

That article is creepy.

 

She has never given a bad performance of Formation.

 

4 minutes ago, V$. said:

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness.

 

Angelica Jade Bastién
New York Magazine/Vulture

 

https://www.rottentomatoes.com/m/renaissance_a_film_by_beyonce/reviews?intcmp=rt-scorecard_tomatometer-reviews

 

GIRL

WHAT 

 

There’s a 90% chance this has to do with #that conflict. She looks like the type to intermingle her own politics.
 

It couldn’t be more plain Beyoncé wanted to use her platform to uplift queer black culture. Like, that’s the entire premise of the Renaissance album and film. 

5 minutes ago, V$. said:

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness.

 

Angelica Jade Bastién
New York Magazine/Vulture

 

https://www.rottentomatoes.com/m/renaissance_a_film_by_beyonce/reviews?intcmp=rt-scorecard_tomatometer-reviews

 

GIRL

WHAT 

 

The same writer gave Lemonade a 100 and said this "Ultimately, Lemonade cements Beyoncé as an essential voice -- not just an entertainer." 

 

She's angry that Bey didn't opine enough about Johnny's death from AIDs which is frankly very weird

5 hours ago, PrettyHurts said:

why can;t y;all accept that maybe plans changed or she didn't like the outcome  things happen

If she didn't like the outcome, these would never have happened?

 

Oop and there it is:

 

Quote

It should be noted that Renaissance is playing in Israel, which has led to “Break My Soul” becoming an anthem of sorts for Israelis waving their flag in screenings. 
 

https://www.vulture.com/article/renaissance-a-film-by-beyonce-review.html?utm_source=flipboard.com&utm_medium=social_acct&utm_campaign=feed-part

What a dumb lady. 

I think I’ve come to terms in accepting that the visuals were scrapped. For now. I’m just going to pretend she’s remaking everything and it’s going to be even better than what we were teased with, that’s what is actually happening 

that article was really bizarre. for the writer to completely miss the point of the album/ tour/ tour film like wow.

 

on visuals... at this point I'll take the tour film as the music videos

16 minutes ago, V$. said:

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness.

 

Angelica Jade Bastién
New York Magazine/Vulture

 

https://www.rottentomatoes.com/m/renaissance_a_film_by_beyonce/reviews?intcmp=rt-scorecard_tomatometer-reviews

 

GIRL

WHAT 

 

This is such a weird interpretation (given also what comes before it in the article) because the RWT was clearly meant to be a space to escape. Her naming all the violence and threats against queer people in this film goes against that ethos. Sometimes it's what's between the lines that matter, and on tour Beyoncé didn't go on diatribes about politics or whatever in order to prove a point that most in attendance likely already agreed with...but provided a space to forget about that and just have fun.

 

It's like the reviewer missed that part of the film where she explains this.

43 minutes ago, Kristie Kuwa said:

But that was an artistic choice so that one feels inclined to do that while watching the movie in the cinema. I feel like it felt like reliving the concert which ive never had with any concert Film before

I agree. It was very cinematic but also kept the energy of what it feels like to be at a concert. I usually don’t like concert recordings with multiple dates, but it was done really well with this film. The editing is just perfect 

that stupid ***** 

18 minutes ago, swissman said:

This is such a weird interpretation (given also what comes before it in the article) because the RWT was clearly meant to be a space to escape. Her naming all the violence and threats against queer people in this film goes against that ethos. Sometimes it's what's between the lines that matter, and on tour Beyoncé didn't go on diatribes about politics or whatever in order to prove a point that most in attendance likely already agreed with...but provided a space to forget about that and just have fun.

 

It's like the reviewer missed that part of the film where she explains this.

I got the same sense as you while reading these lines:

 

Quote

Though Johnny died of AIDS complications, you won’t learn that from Renaissance. The only mention of his final days comes when Beyoncé’s cousin, Angie Beyince, off-handedly refers to his hospice care. At first blush, the refusal to mention AIDS is odd in a documentary, album, and tour so primed on queer Black joy. But this is by design. For there is no star of such magnitude who more cunningly positions themselves as apolitical than Beyoncé.

It’s like, did she want a full run-down of Uncle Johnny’s condition as his health deteriorated from AIDS? Why does the preceding 5 minutes CELEBRATING his talents, contributions, and joy not suffice to highlight the worthiness of queer black men?
 

Should she similarly have lingered on JZ Prodigies struggle as a poor, fat, gay black man? 
 

These people are addicted to black TRAUMA porn, they could give a damn about black joy and triumph in the face of adversity. It’s SICK. 

I wish the film went into why she cut the "big" three out, was it logistical? Was it too straining on her voice? I would've liked to known

Also when the horse wouldn't go up, I need the behind the scenes look backstage when that happened. 

 

I wanna see it a third time but AMC shows no listings this week, was this just a one weekend event? 

33 minutes ago, V$. said:

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness.

 

Angelica Jade Bastién
New York Magazine/Vulture

 

https://www.rottentomatoes.com/m/renaissance_a_film_by_beyonce/reviews?intcmp=rt-scorecard_tomatometer-reviews

 

GIRL

WHAT 

 

Didn’t matter how good the movie was, she was going to give it a negative review because of Palestine. What a pathetic reviewer. 

As far as documenting why she cut the big three, I don’t think it would have worked in the context of the concert film since they were included.

 

At least it’s not an edit I would make, mostly out of fear of confusing viewers. I do hope we get to learn more about why in the future.

 

Her driving away with the visuals.

 

You know what’s funny to me is that Beyoncé did open up about a painful personal experience in Lemonade. And these same people (some Hive included) often throw it back in her face when they want to humble her. 
 

Like, could you imagine the speculative articles and sensationalism about “possible tour date cancellations blah blah blah” had she revealed on social media that she had knee surgery? This is the level of candor they want from Bey, while offering NONE of the grace or understanding that comes from people within your inner circle.
 

It’s true what mama always said: you can’t go around just telling everybody your business.